Blackwoods Edinburgh Magazine – Volume 55, No. 341, March, 1844

Previous to the introduction of quadrilles and country dances or contredanses, the inaptitude of nine-tenths of mankind for dancing was still more eminently demonstrated in the murders of the minuet. For (as Morall, the dancing-master of Marie Antoinette, used passionately to exclaim)—que de choses dans un minuet! What worlds of modest dignity—of alternate amenity and scorn! The minuet has all the tender coquetry of the bolero, divested of its licentious fervour. With the minuet and the hoop, indeed, disappeared that powerful circumvallation of female virtue, rendering superfluous the annual publication of a dozen codes of ethics, addressed to the "wives of England" and their daughters. All was comprehended in the pas grave. That noble and right Aulic dance was expressly invented in deference to the precariousness of powdered heads; and its calm sobrieties, once banished from the ball-room, revolutionary boulangères succeeded—and chaos was come again! The stately pavon had possession of the English court, with ruffs and farthingales, in the reign of Elizabeth. With the Stuarts came the wild courante or corante—

"Hair loosely flowing, robes as free"—

and if the House of Hanover, and minuets, reformed for a time the irregularities of St James's—what are we to expect now that waltzes, galops, and the eccentricities of the cotillon have possession of the social stage? WHAT NEXT? as the pamphlets say—"What will the lords do?"—what the ladies?

Thus much in proof, that the boss of pirouettiveness is strangely wanting in human conformation, and that there is consequently all the excuse of ignorance for the wild enthusiasm lavished by London on the operative class. Ten guineas per night—five hundred for the season—is the price exacted for a first-rate opera-box; and as the exclusives usually arrive at the close of the opera, or, if earlier, keep up a perpetual babble during its performance, they clearly come for the dancing.—"On voit l'opéra, et l'on écoute le ballet," used to be said of the Académie de Musique. But it might be asserted now, with fully as much truth, of the Queen's Theatre, where the evolutions of Carlotta Grisi, Elssler, and Cerito, keep the audience in a state of breathless attention denied to Shakspeare.

In two out of these instances, it may be advanced that they are consummate actresses as well as graceful and active dancers. Elssler's comedy is almost as piquant as that of Mademoiselle Mars. Nor is the ballet unsusceptible of a still higher order of histrionic display. We never remember to have seen a stronger levée en masse of cambric handkerchiefs in honour of O'Neill's Mrs Haller, or Siddons's Isabella, than of the ballet of "Nina;" while the affecting death-dance in "Masaniello" is still fresh in the memory of the admirers of Pauline Leroux. We have heard of swoons and hysterics along the more impressionable audiences of La Scala, during the performance of the ballet of "La Vestale;" and have witnessed with admiration the striking effect of the fascinative scene in "Faust."

Of late years, the union of Italian blood and a French education has been found indispensable to create a danseuse—"Sangue Napolitano in scuola Parigiana;"—and Vesuvius is the Olympus of all our recent divinities. Formerly, a Spanish origin was the most successful. The first dancer who possessed herself of European notoriety was La Camargo, whose portraits, at the close of a century, are still popular in France, where she has been made the heroine of several recent dramas. To her reign, succeeded that of the Gruinards and Duthés—in honour of whose bright eyes, a variety of noblemen saw the inside both of Fort St Evêque and St Pelagie; the opera being at that time a fertile source of lettres de cachet. To obtain admittance to the private theatricals of the former dancer, in her magnificent hotel in the Chaussée d'Antin, the ladies of fashion and of the court had recourse to the meanest artifices; while the latter has obtained historical renown, by having excited the jealousy, or rather envy, of Marie Antoinette. Mademoiselle Duthé appeared at the fêtes of Longchamps, in the Bois de Boulogne, in a gorgeous chariot drawn by six milk-white steeds, with red morocco harness, richly ornamented with cut steel; and thus accomplished the object of incurring the resentment of the court, from the prodigality of one of whose married princes these splendours were supposed to emanate—splendours exceeding those of the Rhodopes of old.

But the greatest triumph ever achieved by danseuse, was that of Bigottini! The Allied sovereigns, after vanquishing the victor of modern Europe, were by her vanquished in their turn. At her feet, fresh trembling from an entre-chat, did

"Fiery French and furious Hun"

lay down their arms! The Allied armies appeared to have entered Paris only to become the slaves of Bigottini!

In our own country, devotees of the danseuse have done more, by promoting her to the decencies of the domestic fireside. In our own country, also, even Punch was once purchased by an eccentric nobleman for the diversion of his private life. But as Demosthenes observed of the cost of such a pleasure, "that is buying repentance too dear!"

We are perhaps offending the gravity of certain of our readers by the extent of this notice; albeit, we have striven to propitiate their prejudices by the peculiar combination and juxtaposition of professions, selected for consideration. But we are not acting unadvisedly. Close its eyes as it may, the public cannot but perceive, that the legitimate drama is banished by want of encouragement from the national theatres, and that the ballet is brandishing her cap and bells triumphantly in its room.

Such changes are never the result of accident. The supply is created by the demand. It is because we prefer the Sylphide to Juliet, that the Sylphide figures before us. Shakspeare was played to empty benches; the Peri and Gisele fill the houses.

We repeat, therefore, since such is the bent of public appetite, let it be gratified in the least objectionable way. Let us have a royal academy of dancing. We shall easily find some Earl of Westmoreland to compose its ballets, and lady patronesses to give an annual ball for the benefit of the institution. Do not let some eighty thousand a-year be lost to the country. An idol is as easily carved out of one block of wood as another. Let us make unto ourselves goddesses out of the haberdashers' shops of Oxford Street; and qualify the youthful caprices of Whitechapel to command the homage of Congress, and of the great autocrat of all the Russias. Properly instructed, little Sukey Smith may still obtain an enameled brooch or bracelet from her Majesty the Queen-Dowager! Let us "people this whole isle with sylphs!" Let Drury-Lane and Covent-Garden flourish; but—thanks to Great Britain pirouettes!—the art of giving ten guineas for a couple of hours spent in an opera-box, will then become less criminal; and we shall have no fear of the influence of some Herodias's daughter in our domestic life, when we see the Cracovienne announced in the bills "by Miss Mary Thomson." The charm will be destroyed. The unfrequented coulisses, like Dodona, will cease to give forth oracles.

Under the influence of an "establishment," we shall have to record of opera-dancers as of other professions, that "the goddesses are departing!" The danse à roulades of Fanny Elssler will be voted vulgar, when attempted by a Buggins. Let Mr Bunn look to himself. He may yet survive his immortality. We foresee a day in which he will be no longer styled Alfred the Great. With the aid of George Robins, and other illustrious persons interested in the destinies of theatrical property, we do not despond of hearing attached to "a bill for the legalization of the Royal and National Academy of Dancing of the United Kingdom," the satisfactory decree of "LA REINE LE VEUT!"

THE PIRATES OF SEGNA

A TALE OF VENICE AND THE ADRIATIC. IN TWO PARTS.

PART I

CHAPTER I.—THE STUDIO

It was on a bright afternoon in spring, and very near the close of the sixteenth century, that a handsome youth, of slender form and patrician aspect, was seated and drawing before an easel in the studio of the aged cavaliere Giovanni Contarini—the last able and distinguished painter of the long-declining school of Titian. The studio was a spacious and lofty saloon, commanding a cheerful view over the grand canal. Full curtains of crimson damask partially shrouded the lofty windows, intercepting the superabundant light, and diffusing tints resembling the ruddy, soft, and melancholy hues of autumnal foliage; while these hues were further deepened by a richly carved ceiling of ebony, which, not reflecting but absorbing light, allayed the sunny radiance beneath, and imparted a sombre yet brilliant effect to the pictured walls, and glossy draperies, of the spacious apartment. Above the rich and lofty mantelpiece hung one of the last portraits of himself painted by the venerable Titian, and on the dark pannels around were suspended portraits of great men and lovely women by the gifted hands of Giorgione, Paul Veronese, Paris Bordone, and Tintoretto. Regardless, however, of all around him, and almost breathless with eagerness and impatience, the student pursued his object, and with rapid and vigorous strokes had half completed his sketch—totally unconcious the while that some one had opened the folding-doors, crossed the saloon, and now stood behind his chair.

"But tell me, Antonello mio!" exclaimed old Contarini, after gazing awhile in mute astonishment at the sketch before him; "tell me, in the name of wonder, what kind of face do you mean to draw around that lean and withered nose and that horribly wrinkled mouth?"

Antonio, however, was so unconcious of the "world without," that he started not at this sudden interruption of the previous stillness. Regardless, too, of the serious and indeed reproving tone of the old man's voice, he hastily replied without averting his gaze from the canvass. "Hush, maestro! I beseech you. Question me not, for Heaven's sake! I cannot spare a word in reply. The original," continued he, after a brief interval of close attention to his object, and drawing as he spoke; "the original is still firmly fixed in my memory. I see its sharp outlines clear within me, and, as you well know and oft have told me, a feature lost is lost for ever. Alas! alas! those lines and angles around the mouth are already fading into shadow."

After he had thrown out these words, from time to time, like interjections, and with Venetian rapidity of utterance, nothing was audible in the saloon for some minutes but the young artist's sharp and rapid strokes upon the canvass.

"No more of this, Antonio!" at length exclaimed the old painter with energy, after gazing for some time at the gradual appearance of an old woman's lean and winkled features, dried up and yellow as if one of the dead, and yet lighted up by a pair of dark deep-set eyes, which seemed to blaze with supernatural life and lustre. At each touch of the artist, this mummy-like and unearthly visage was brought out into sharper and more disgusting relief, when Contarini, no longer able to control his indignation, dashed the charcoal from his pupil's hand. "Apage, Satanas!" he shouted, "thy talent hath a devil in it. I see his very hoof-print in that horrible design."

Startled by this unexpected violence, the young artist turned round, and beheld with amazement the usually benign featutes of his venerable teacher flashing upon him with irrepressible anger, which was the more impressive because the Cavaliere had just returned from a visit to the Doge, and was richly attired in the imposing patrician costume of the period. Around his neck was the golden chain hung there by the imperial hands of Rodolph the Second, and he wore the richly enameled barret, and lofty heron's plume, which the same picture-loving emperor had placed upon his head when he knighted him as a reward for the noble pictures he had painted in Germany. There was a true and fine air of nobility in his lofty form and well-marked features—a character of matured thought and intellectual power in the expansive brow, and in the firm gaze of his large dark eyes, as yet undimmed by age—with evidence of decision and self-respect, and habitual composure in the finely formed mouth and chin. Thus splendidly arrayed, and thus dignified in form, features, and expression, this distinguished man recalled so powerfully to the memory of his imaginative pupil the high-minded doges of the heroic period of Venice, and the imposing portraits of Titian's senators, that, with a deep sense of his own moral inferiority, he obeyed in silence, and with starting tears removed the offending sketch. Then placing before him a small picture of a weeping and lovely Magdalen by Contarini, which he had undertaken to copy, he began the sketch, patiently awaiting a voluntary explanation of this unwonted vehemence in his beloved teacher, who, seated in his armchair, leaned his head upon his hand and seemed lost in thought.

And now again for some time was the deep stillness of the studio interrupted only by the strokes of Antonio's charcoal, which, unlike his rapid and feverish efforts when sketching the old woman, were now subdued and tranquil. As he gazed into the upraised and pleading eyes of the beautiful Magdalen, his excitement gradually yielded to the pacifying influence of her mute and eloquent sorrow. This salutary change escaped not the observation of Contarini, whose benevolent features softened as he gazed upon these tokens of a better spirit in his pupil.

"I rejoice to see, Antonio," he began, "that you already feel, how ever imperfectly, the soothing and hallowed influence of the Beautiful in Art and Nature, and the peril to soul and body of delighting in imaginary forms of horror. If you indulge these cravings of a distempered fancy, you will sink to the base level of those Flemish artists who delight in painting witches and demons, and in all fabulous and monstrous forms. You, who are nobly born, devoted to poetry and fine art, and possess manifest power in portraiture, should aim at the Heroic in painting. Make this your first and steadfast purpose. Devote to it your life and soul; and, should the power to reach this elevation be wanting, you may still achieve the Beautiful, and paint lovely women in lovely attitudes. But tell me, Antonello!" continued he, resuming his wonted kindness, "how came that horrid visage across thy path, or rather across thy fancy? for surely no such original exists. Say, didst thou see it living, or was it the growth of those distempered dreams to which painters, more than other men, are subject?"

"No, padre mio! it was no dream," eagerly answered his pupil. "Yesterday I went in our gondola, as is my wont on festivals, to the beautiful church of San Moyses, which I love for its oriental and singular architecture. When near the church I heard a melodious voice calling to Jacopo, my gondolier, the only boatman in sight, and begging a conveyance across the canal. Issuing from the cabin, I saw a tall figure, closely veiled, standing on the steps of the palace facing the church and occupied by the Archduke's ambassador. Approaching the steps, Jacopo placed a plank for the stranger; but, as she stepped out to reach it, a sudden gust caught her large loose mantle, which, clinging to her shape, displayed for a moment a form of such majestic and luxuriant fulness—such perfect and glorious symmetry, as no man, still less an artist, could look on unmoved. In trembling and indescribable impatience, I awaited the raising of her veil. Another gust, and a slight stumble as she bounded rather than stepped into the boat, befriended me; the partial shifting of her veil, which she hastily replaced, permitted a glimpse of her features—brief, indeed, but never to be forgotten. Yes, father! the face which surmounted that goddess-like and splendid person, was the horrid visage I have sketched, lean and yellow, drawn up into innumerable wrinkles, and with black eyes of intolerable brightness, blazing out of deep and faded sockets. Staggered by this unearthly contrast, I fell back upon the bench of the gondola, and gazed in silent horror at the stranger, who answered not the blunt questions of Jacopo; and, as if ashamed of her astounding ugliness, sat motionless and shrouded from head to foot in her capacious mantle. I followed her into the church; but, unable to hold out during the mass, I left her there and hastily returned to sketch this sublime example of the hideous before any of its points had faded from my memory. Forgive me, father, for yielding to an impulse so strong as to overwhelm all power of resistance. Yet why should I abandon this rare opportunity of displaying any skill I may have gained from so gifted a teacher? Pictures of Madonnas and of lovely women so abound in all our palaces, that a young artist can only rise above the common level by representing something extraordinary, something rarely or never seen in life."

Contarini gazed with sorrowing and affectionate interest upon the flushed features of his pupil, again excited as before by his own description of the mysterious stranger. One less acquainted with human nature, would have mistaken the flashing eyes and animated features of the youthful artist for the sure tokens of conscious and advancing talent; but the aged painter, whose practised eye was not dazzled by the soft harmony of features which gave a character of feminine beauty to Antonio, saw in the excitement which failed to give a more intellectual character to his countenance, sad evidence of a soul too feeble and infirm of purpose to achieve eminence in any thing, and with growing alarm he inferred a predisposition to mental disease from those morbid and uncontrolled impulses, which delighted in portraying objects revolting to all men of sound and healthy feelings.

He arose in evident emotion, and after pacing the studio some time in silence, he approached Antonio, who, yielding to his eccentric longings, had seized the sketch of the old woman's head, and was gazing on it with evident delight. "Give me the sketch, Antonio!" resumed the painter in his kindest tone, "'Tis finished, and the hunter cares not for the hunted beast when stricken. What wouldst thou with it?" "What would I, maestro?" exclaimed the alarmed youth, hastily removing his sketch from the extended hand of the painter, "Finish the subject of course, and place this wonderful old head upon the magnificent form to which it belongs."

"But, saidst thou not, Antonio, that the poor creature in the gondola hastily concealed her features when accident revealed them, as if ashamed of her unnatural ugliness? And canst thou be so heartless as to publish to the world that strange deformity she is doomed to bear through life, and which she is evidently anxious to conceal? Wouldst thou add another pang to the existence of one to whom life is worse than death, and whose eternal veil is but a foretaste of the winding-sheet and the grave? Thou wilt not, canst not, my Antonio, make such unheard-of misery thy stepping-stone to fame and fortune." This impassioned appeal to all his better feelings at length reached the heart of Antonio. For a short time he continued to withhold the drawing; but his kindly nature triumphed. Tearing his sketch into fragments, he threw himself into the extended arms of his beloved teacher, who with deep emotion placed his trembling hand on the curling locks of his pupil, and implored the blessing of Heaven on his better feelings and purposes.

With a view to improve the impression he had made, the painter led Antonio round the studio, and sought to fix his attention upon several portraits of lovely women which adorned it. "Here," said he, "are heads worthy to crown that striking figure in the gondola. Behold that all-surpassing portrait by Giorgione, of such beauty as painters and poets may dream of but never find, and yet not superhuman in its type. Too impassioned for an angel; too brilliant for a Madonna; and with too much of thought and character for a Venus—she is merely woman. Belonging to no special rank or class in society, and neither classical nor ideal, she personifies all that is most lovely in her sex; and, whether found in a palace or a cottage, would delight and astonish all beholders. This rarely gifted woman was the daughter of Palma Vecchio, and the beloved of Giorgione, one of the handsomest men of his time; but her sympathies were not for him, and he died of grief and despair in his prime. She was the favourite model of Titian and his school, and the type that more or less prevails in many celebrated pictures.

"How different and yet how beautiful of its kind, is that portrait of a Doge's daughter, by Paris Bordone! Less dazzling and luxuriant in her beauty than Palma's daughter, she is in all respects intensely aristocratic. In complexion not rich and glowing, but of a transparent and pearly lustre, through which the course of each blue vein is visible. In shape and features not full and beautifully rounded, but somewhat taller and of more delicate symmetry. In look and attitude not open, frank, and natural; but astute, refined, courteous, and winning to a degree attainable only by aristocratic training and the habits of high society. In apparel, neither national nor picturesque, but attired with studied elegance. Rich rows of pearls wind through her braided hair, in colour gold, in texture soft as silk. A band of gold forms the girdle of her ruby-coloured velvet robe, which descends to the wrist, and there reveals the small white hand and tapering fingers of patrician beauty. All this may captivate the fastidious noble; but, to men less artificial in their tastes and habits, could such a woman be better than a statue—and could love, the strongest of human passions, be ever more to her than a short-lived and amusing pastime?

"From these immortal portraits, my Antonio, you may learn that colour was the grand secret of the great Venetian painters. Their pale forms are never white, nor their blooming cheeks rose-colour, but the true colour of life—mellow, rich, and glowing; both men and women strictly true to nature, and looking as if they could turn pale with anger or blush with tender passion. From these great men can best be learned how much charm may be conveyed by colour, and what life and glow, what passion, grace, and beauty it gives to form.

"But I weary thee, Antonio; and after such excitement thou hast need of repose. To-morrow, let me see thee early."

The exhausted youth gladly departed from a scene of so much trial; and, hastening to his gondola, sought refreshment in an excursion to the Lido. Returning after nightfall, he landed on the Place of St Mark's, and wandered through its cool arcades until they were deserted. In vain, however, did he strive to banish the graceful form and grisly features of the stranger. The strong impression he had received became so vivid and absorbing, that at every turn he thought he saw her gazing at him as if in mockery, and lighting up the deep shadows beneath the arches with her glowing orbs, which seemed to his disordered fancy to emit sparks and flashes of fire. No longer able to resist the impulse, forgetting alike the paternal admonitions of the old painter, and the promises so sincerely given, he quitted the piazza and hastened to the palace of his father, the Proveditore Marcello, then absent on state affairs in the Levant.

Retiring to his own apartment, he fixed an easel with impetuous haste, and by lamplight again began to sketch the Medusa head of the old woman. Yielding himself up to this new frenzy, he succeeded beyond his hopes; a supernatural power seemed to guide his hand, and soon after midnight he had drawn to the life not only the appalling head, but the commanding and beautiful person, of the mysterious personage in the gondola. After gazing awhile upon his work with triumphant delight, he retired to bed; but slept not until long after sunrise, and then the extraordinary incidents of the past day haunted his feverish dreams. A female form, youthful and of surpassing beauty, hovered around his couch, but ever changing in appearance. At first her head was invisible and veiled in mist, from which, at intervals, flashed features of resplendent loveliness, and eyes of heavenly blue, which beamed upon him with thrilling tenderness; and then the mist dispersed, and the beauteous phantom stooped down to kiss his cheek, when suddenly her blooming face darkened and withered into the death-like visage of that fearful stranger, and her long bright hair was converted into hissing sepents. Starting with a scream of horror from his troubled and exhausting slumbers, he again sought refuge in his gondola, but returned, alas! to make his sketch into a picture, which the hues of life made still more hideous and repulsive. After several days thus occupied, he sketched in various attitudes the imposing figure of the old woman, and endeavoured to fit this beautiful Torso with a head not unworthy of it. But herein, after many attempts, he failed. His excitement, so long indulged, had risen into fever. His diseased fancy controlled his pencil, and blended with features of the highest order of beauty so many touches of the old woman's ghastly visage, that he threw down his pencil, and abandoned all further efforts in despair.

CHAPTER II

THE CAVERN

The shores of Austrian Dalmatia south of the port of Fiume, are of so rugged and dangerous a nature, that although broken into numerous creeks and bays, there are but few places where vessels, even of small dimensions, dare to approach them, or indeed where it is possible to effect a landing. A long experience of the coast, and of the adjacent labyrinth of islands which block up the gulf of Carnero, is necessary in order to accomplish in safety the navigation of the shallow rocky sea; and even when the mariner succeeds in setting foot on land, he not unfrequently finds his progress into the interior barred by precipices steep as walls, roaring torrents, and yawning ravines.

It was on a mild evening of early spring, and a few days after the incidents recorded in the preceding chapter, that a group of wild-looking figures was assembled on the Dalmatian shore, opposite the island of Veglia. The sun was setting, and the beach was so overshadowed by the beetling summits of the high chalky cliffs, that it would have been difficult to discover much of the appearance of the persons in question, but for an occasional streak of light that shot out of a narrow ravine opening among the rocks in rear of the party, and lit up some dark-bearded visage, or flashed on the bright barrel of a long musket. High above the ravine, and standing out against the red stormy-looking sky behind it, the outline of a fortress was visible, and in the hollow beneath might be distinguished the small closely-built mass of houses known as the town of Segna.

This castle, which, by natural even more than artificial defences, was deemed impregnable, especially on its sea face, was the stronghold of a handful of hardy and desperate adventurers, who, although their numbers never exceeded seven hundred men, had yet, for many years preceding the date of this narrative, made themselves a name dreaded throughout the whole Adriatic. The inhabitants of the innumerable Dalmatian islands, the subjects of the Grand Turk, the people of Ancona—all, in short, who inhabited the shores of the Adriatic, and were interested in its commerce, or in the countless merchant vessels that skimmed over its waters—trembled and turned pale when the name of these daring freebooters was mentioned in their hearing. In vain was it that the Sultan, who in his sublimity scarcely deigned to know the names of some of the great European powers, had caused his pachas to take the field with strong armaments for the extermination of this nest of pirates. These expeditions were certainly not disadvantageous to the Porte, which seized the opportunity of annexing to its dominions some large slices of Hungarian and Venetian territory; but their ostensible object remained unaccomplished, and the proverbial salutation of the time, "God save you from the Uzcoques!" was still on the lips of every one.

The word "Uzcoque," by which this dreaded people was known, had grown into a sound of mourning and panic to the inhabitants of the shores and islands of the Adriatic. At the utterance of that fearful name, young girls crowded together like frightened doves; the child hid its terrified face in its mother's lap; the eyes of the matron overflowed with tears as the images of murdered sons and outraged daughters passed before her mind's eye, and, like Banquo's ghost, filled the vacant seats at the table; while the men gazed anxiously out, expecting to see their granaries and store-houses in flames. Nor were the seaman's apprehensions less lively, when night surprised him with some valuable cargo in the neighbourhood of the pirates' haunts. Every rock, each tree, and bush became an object of dread; the very ripple of the waves on the shingle a sound of alarm. To his terrified fancy, a few leafless and projecting branches assumed the appearance of muskets, a point of rock became the prow of one of those light, sharp-built boats in which the Uzcoques were wont to dart like seabirds upon their prey; and, invoking his patron saint, the frightened sailor crossed himself, and with a turn of the rudder brought his vessel yet nearer to the Venetian galleys that escorted the convoy.

At the cry "Uzcoque" the slender active Albanian grasped his fire-lock, with rage and hatred expressed on his bearded countenance: the phlegmatic Turk sprang in unwonted haste from his carpet; his pipe and coffee were neglected, his women and treasures secured in the harem, while he shouted for the Martellossi,[3 - The Turks, finding their own troops not well adapted to the irregular and desperate kind of warfare waged by the Uzcoques, and also unable to compete with them in the rapidity of their movements, formed a corps expressly for the pursuit of the freebooters, which was composed of men as wild and desperate as themselves. With these Martellossi, as they were called, the Uzcoques had frequent and sanguinary conflicts. Minucci says of the Martellossi, in his Historia degli Uscochi, that they were "Scelerati barbari anco 'ordine de' medesime Scochi."] and slipping them like dogs from a leash, sent them to the encounter of their foes on the devastated plains of Cardavia. In the despatches from Madrid, from the ministers of that monarch on whose dominions the sun never set, to his ambassadors, the name of these seven hundred outlaws occupied a frequent and prominent place. But by none were the Uzcoques more feared and detested than by the greyheaded doge and senators of the Ocean Queen, the sea-born city, before whose cathedral the colours of three kingdoms fluttered from their crimson flagstaffs; and the few young Venetians in whose breasts the remembrance of their heroic ancestors yet lived, blushed for their country's degradation when they beheld her rulers braved and insulted by a band of sea-robbers.

To this band belonged the wild figures, whose appearance on the shore has been noticed, and who were busily employed in rummaging a number of sacks and packages which lay scattered on the ground. They pursued their occupation in profound silence, except when the discovery of some object of unusual value elicited an exclamation of delight, or a disappointment brought a grumbling curse to their lips. They seemed carefully to avoid noise, lest it should draw down upon them the observation of the castle that frowned above their heads, and at the embrasures and windows of which they cast frequent and frightened glances, although the darkness of the ravine, at the entrance of which they had stationed themselves, and the rapidly deepening twilight, rendered it almost impossible to discover them.

"By the beard of the prophet, Hassan!" exclaimed in a suppressed tone a young Turk, who lay bound hand and foot at a short distance from the pirates, "why do these mangy curs keep us lying so long on the wet grass? Why do they not seek their kennel up yonder?"

The person addressed was a little, round, oily-looking Turk, a Levant merchant, whose traffic had called him to one of the neighbouring islands, and who had been laid hold of on his passage by the Uzcoques. He was sitting up, being less strictly manacled than his more youthful and energetic-looking companion; and his comical countenance wore a most desponding expression, as, in reply to the question put to him, he shook his head slowly from side to side, at the same time gravely stroking his beard.

"By Allah!" exclaimed the young man impatiently, as he saw the pirates rummaging more eagerly than ever, and now and then concealing something of value under their cloaks, "could not the greedy knaves wait till they got home before they shared the plunder? May their fathers' souls burn!"

"What saith the sage Oghuz?" quoth old Hassan slowly, "'As people grow rich their maw widens.'"

"Silence, unbelieving hound!" exclaimed a harsh voice behind him, and a thump between the shoulders warned the old Turk to keep his proverbs for a more fitting season. The pirate was about to repeat the blow, when suddenly his hand fell, and the curses died away upon his lips.

The clouds that had hitherto veiled the setting sun had suddenly broken, and a broad stream of golden light poured down the ravine, flashing upon the roofs and gables of the town, and making the castle appear like a huge and magnificent lantern. The ravine was lighted up as though by enchantment, and the unexpected illumination caused an alarm among the group of pirates, not unlike that of an owl into whose gloomy roosting-place a torch is suddenly intruded. Terror was depicted upon their countenances as they gazed up at the castle. For a moment all was still and hushed as the grave, and the Uzcoques scarcely seemed to breathe as they drew their greedy hands in silent haste out of the sacks; then, suddenly recovering from their stupefaction, they snatched up their muskets and crowded into a dark cavern in the rock, which the beams of the setting sun had now for the first time rendered visible, without, however, lighting up its deep and dark recesses. In their haste and alarm, more than one of the freebooters had his tattered mantle caught by the thorny arms of some of the bushes scattered over the shore, and turned in terror, thinking himself in the grasp of a foe. A few only had the presence of mind to throw their cloaks over the varied and glittering plunder that lay scattered about on the ground; and strange was the contrast of the sparkling jewellery, the rich stuffs, and embroidered robes, strewed on the beach, with the mean and filthy garments that partially concealed them, and the wild and squalid figures of their present possessors.